中和:朱熹美学、诗学范畴研究
本文选题:中和 + 朱熹 ; 参考:《四川师范大学》2017年硕士论文
【摘要】:中和范畴是古典美学与诗学中的重要范畴。朱熹作为宋代理学的集大成者,继承了二程的思想体系,重新构建了儒家哲学,在哲学美学与诗学理论中发展了中和范畴的内涵。朱熹将中和作为美的本体的基本定位意味着中和具有先验性、超越性、形而上性和普适性,这些理论为朱熹中和范畴体系奠定了宏观的理论基础。朱熹将中和与道之本体并举,以理学家的性本体论为基础,发展了中和在形而上层面的哲理意蕴,将中和视为一种超越的先验存在,也即是美的本体;同时朱熹从中和作为哲学美学范畴的普适性出发,一方面以天命之性作为道与人联系的纽带,将中和从抽象的层面延伸到人自身,中和指向天命之性的回归与人欲之情的摒弃,朱熹的“德性之美”是儒家美善合一的审美观的流露,人在作为伦理道德主体的同时,也成为审美的主体;另一方面,中和以其普适性也在形而下的层面具有广泛的意义指向,从天地万物以至人自身,及至文学艺术等人为创造之物,都体现了中和之美。中和既是一种与道共生的超越之美,也是万物育化,和实生物的天地自然之美,更是文学艺术之美的应有之义,体现了主体的人格理想与审美价值观念,也是主体审美与客体审美的统一。朱熹的中和诗学范畴建立在心性论哲学和伦理主体哲学的基础上,继承和发展了孔子的温柔敦厚说。中和首先是朱熹对以雅颂为代表的特定诗歌风格的解读,同时也反映了对创作主体的审美追求。朱熹将政治意义上的“克尽己私”运用到诗歌创作和批评实践中,提出了作家的个体修养理论,中和进一步抽象为厚重、严正、平和、典雅的诗学原则和标准,从而由单一的诗歌风格具有了普遍的审美意义。有赖于在哲学上对中和的理论提升和阐释,朱熹的中和诗学范畴在前人基础上有了较大的发展,衍生出了丰富的内涵层次,既具有儒家特色又融汇了佛老的因素,既有丰富的哲理内涵,又富有包容性,是古典美学的重要原则和标准,对后世诗学理论与实践造成了深远的影响。
[Abstract]:The category of neutralization is an important category in classical aesthetics and poetics.Zhu Xi, as the master of Neo-Confucianism in the Song Dynasty, inherited the two-stage thought system, rebuilt the Confucian philosophy, and developed the connotation of neutralization category in the philosophical aesthetics and poetics theory.Zhu Xi regards neutralization as the basic position of beauty Noumenon, which means neutralization has transcendental, transcendental, metaphysical and universality. These theories have laid a macroscopic theoretical foundation for Zhu Xi's neutralization category system.Zhu Xi developed the philosophical implication of neutralization on the metaphysical level and regarded neutralization as a transcendental existence of transcendental existence, that is, the Noumenon of beauty, on the basis of the Noumenon of Neo-Confucianism and the Noumenon of Tao.At the same time, Zhu Xi starts from the universality as a category of philosophy and aesthetics, on the one hand, regards the nature of nature as the link between Tao and man, extends neutralization from the abstract level to man itself, and neutralizes the return to the nature of destiny and the abandonment of human desire.Zhu Xi's "Beauty of Virtue" is the aesthetic expression of the combination of beauty and goodness in Confucianism. People, as the subject of ethics and morality, also become the subject of aesthetics; on the other hand, neutralizing their universality also has a wide range of meanings at the lower level.The beauty of neutralization is embodied in everything from heaven and earth to man himself, to the creation of literature and art.Neutralization is not only the transcendental beauty of Tao symbiosis, but also the cultivation of all things, the beauty of nature and nature, and the beauty of literature and art, which embodies the personality ideal and aesthetic value of the subject.It is also the unity of subject aesthetics and object aesthetics.Zhu Xi's category of neutralization poetics is based on the philosophy of mind and ethics, and inherits and develops Confucius' theory of tenderness and kindness.Neutralization is Zhu Xi's interpretation of the specific poetic style represented by Yazong, and also reflects the aesthetic pursuit of the creative subject.Zhu Xi applied the political sense of "doing his best for himself" to the practice of poetry creation and criticism, and put forward the individual cultivation theory of the writer, which was further abstracted into the poetics principles and standards of mass, Yan Zheng, peace and elegance.Thus, a single style of poetry has universal aesthetic significance.Depending on the philosophical promotion and interpretation of the theory of neutralization, Zhu Xi's category of neutralization poetics has developed greatly on the basis of his predecessors, and has derived rich connotations, which has both Confucian characteristics and the elements of the Buddha and the old.As an important principle and standard of classical aesthetics, it has a profound influence on the theory and practice of poetics.
【学位授予单位】:四川师范大学
【学位级别】:硕士
【学位授予年份】:2017
【分类号】:I01
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